"FRAGILITY ... VERSATILITY - Tribute to KAK ENDON" a solo exhibition featuring WORKS ON GLASS by RAJA AZHAR IDRIS. (Work featured - NORI'S SELENDANG Fused Slumped Glass)
MY PERSONAL JOURNEY WITH KILN-FORMED GLASS
The Inspiration …..
Throughout my thirty-five years as a professional artist, I have learnt to be patient and to persevere despite the many odds. These qualities have been of a tremendous help to me in understanding the behaviour of glass and to also respect its’ hidden potential. I consider myself as being an “isolated” (ie. limited resources) glass artist and, as such, I attribute my success and failure to my many experiments. These have resulted in the creation of many exciting designs, some of which have even surpassed my initial expectations. Admittedly, my determination to attain success has overpowered any frustration or disappointment.
Prior to my discovery of the glass medium, I had already entertained the idea of a change in style. In 1997, I stumbled upon my attraction for the glass during a visit to the Venice Biennale. There, I was influenced by the exciting and unique glass installation works and was also exposed for the very first time, to the world famous Murano glassmaking. On my return to
, I bravely attempted to experiment with methods of fusing, slumping and texturing glass. (At this stage, I employed the use of an industrial oven). I worked with a specific brand of glass colour called vitral. These colours were applied to the cold surface of the glass once the initial design had been completed. The final result was pretty effective as it enhanced the overall effect. I enjoyed this process at first but I was keen to further my knowledge in other areas. I was intrigued by the idea of using other brands of colour which could be applied before the object was fired in a kiln (ie. hot glass colour).
The Journey begins …….
In 2001, I attended my first ever glass conference, the 12th Biennial Ausglass Convention (“Unchartered Waters – contemporary glass beyond current practice”) in
Melbourne . I undertook my very first workshop with Ursula Huth from
and who is renowned for her kiln-formed technique in glassmaking. While at the conference, I also learnt how to use the popular bullseye brand of glass and how to successfully incorporate hot glass colour, luster, frits and stringers into my designs. More importantly, I gained first-hand knowledge and information on the intricacies of programming a furnace and familiarized myself with the more technical aspects of firing glass.
On my return to
, I purchased two furnaces which were manufactured according to my specific instructions. That same year (2001), I was awarded my first major project by Maybank Assurance. I was commissioned to design and install what still is currently the biggest and tallest glass installation. My first solo exhibition, “Inventions on Glass”, soon followed in 2002 and it was a huge success.
The 13th Biennial Ausglass Convention (“Isolation Collaboration”) was held in Fremantle in 2003. There I was taught the methods of both clay and rubber casting by Colin Reid from the
who is well-known for his cast sculpture in glass. I discovered that these were equally painstaking but deeply satisfying processes and some day soon, I intend to expand my knowledge in these rewarding areas of glassmaking. At the convention, I grabbed every opportunity to liaison with like-minded glass artists from all around the globe. More importantly, I was introduced to a vast range of (glass material) suppliers and I was truly amazed at the popularity of glass making throughout the world.
Once I returned home, I began my biggest ever glass work which was commissioned for the Prime Minister’s Office and the Department of Foreign Affairs at their brand new offices in Putrajaya. This project lasted nearly a year and sorely tested my patience and knowledge because midway through production, my glass supplier changed manufacturers without informing me of his decision. This significant change resulted in a back-log of nearly six months of work because of the incompatibility of the glass produced by the different manufacturers!
In 2003, I was awarded the Digi Journalist of the Year Award trophy project which continued into 2004 and 2005. These trophies were to be my first experience in successfully fusing (eight) separate layers of glass and incorporating the bullseye brand of stringers and frits into the overall design. 2003/2004 also saw me begin to explore the use of cengal wood and stainless steel in my work so as to offset my kiln-formed glass creations. I thus began the “totem” series which formed the base of some of my pieces while others were mounted on a polished stainless steel background for a more contemporary finish.
In 2005, I continued my learning curve by attending the 35th GAS (Glass Artist Society) Annual Conference (“Matters of Substance”) in
Adelaide . This was the first time ever that the Glass Art Society from had collaborated with the Ausglass Society of
and the attendance by artists for this month-long event was phenomenal. This time I attended a workshop held by Harumi Yukutake, a Japanese glass artist. I also participated in a challenging glass-blowing workshop with renowned artists, Richard Marquis and Nick Mount. I was one of the privileged few to learn the glass-blowing technique using the world famous Murano brand of glass. As an added bonus, I gained first hand knowledge at an exciting and refreshing workshop on the intricacies of glass bead making. To date, I have invested in all the necessary tools to pursue the glass bead making process. My funky and unique glass beads are designed to make a statement.
The Satisfaction ……
FRAGILITY … VERSATILITY (2006) – a Tribute to KAK ENDON is my second solo exhibition since my foray into the medium of glass. The works in this show have been inspired by Allahyarham Kak Endon (wife of Datuk Sri Abdullah Badawi,
’s 5th Prime Minister) who played a pivotal role in reviving the art of batik and traditional kebaya designs before her untimely demise. My preference for the kiln-formed technique in glass-making has inspired me to create a provocative collection. Very many splendid batik and songket designs have been the catalyst in my creation of torsos draped in kebaya, vases, platters, sculptures and even table-tops. This inaugural collection marks a milestone in the history of traditional batik design for it is the very first time ever that batik motif has been created on a glass surface. Some pieces in my collection are offset by cengal wood stands carved with traditional motifs while others have been mounted against a stark stainless steel background so as to enhance its’ contemporary nature.
It is my wish that this ground-breaking exhibition will promote the appreciation and development of the glass arts and will inspire the world-wide community of artists who work with glass.
RAJA AZHAR IDRIS
Kuala Lumpur (July 2006)
